Ancient Greek Jewellery

One of the cities of Macedonia listed by Claudius Ptolemaeus (Geogr. III, 12, 23) and Pliny the Younger (NH. V, 10, 17) in the imperial age is Lete. Its location is about 12 kilometers NW of Thessaloniki. The city and its cemeteries sprawled over the hills of the Derveni pass and the western part of the fertile plain of Langadas. This strategic position on two main roads - leading from the Aegean into the central Balkans and linking the Thermaikos Gulf with eastern Macedonia - justifies the long, continuous habitation of the site, from the very early Neolithic period until the Roman era.The key factor in the city’s economic development in the Roman age was its position on the Via Egnatia, the great Roman road running from the Adriatic Sea through northern Greece to the Bosporus.Throughout its history Lete controlled an extensive agricultural territorium, from which it derived much of its wealth. As research has repeatedly shown, cities cannot flourish without a substantial agricultural surplus to supply their markets.  Roman citizens and freedmen, seem to have begun settling in and around the city before the end of the republic era, and, adopting Greek as their language, to have set up banks and commercial activities and acquired land.

Come learn how and why people of the Greek, Roman, Etruscan, and Celtic worlds adorned themselves.  Discover how ornamentation and decoration figured into status, religion, and ritual.  Come experience the beauty and craftsmanship of textile workers, jewelers, and lapidarists in the ancient world.  Lecture by historian Lauren A. M. Hammersen  FREE

Proceedings of the Second International Workshop on the Black Sea in Antiquity held in Thessaloniki, 18-20 September 2015

The necropolis of Apollonia is the most extensively excavated of all Western Pontic Greek necropoleis. Of all grave goods that accompanied the deceased Apollonians, personal ornaments are among the least popular. Against this background, they are found far more often in graves of children – some 20 per cent of all investigated graves.
The main goal of the article is to present a broader overview of the personal ornaments found in children’s graves of Apollonia Pontica in Classical and Hellenistic times. Four groups of ornaments are discussed: strings, bracelets, earrings, and finger rings. Each group has its peculiarities and offers different regularities in its occurrence that could justify various interpretations. Small items and ornaments of non-precious metals rarely attract scholars’ attention. More often than not, they are of modest appearance and cannot be dated with precision. Therefore, necropoleis are crucial, as they provide sealed contexts. An effort is made to discuss the ornaments from Apollonia in a broader Pontic context. It is difficult to compare the necropoleis across the Black Sea region in this respect, as they have been investigated and published to widely varying extents. The evidence that is discussed concerns ornaments from child burials in Mesambria, Callatis, and Tomis on the western coast, Olbia, Berezan, Panskoe, and Nympheum on the northern coast, and Pichvnari on the eastern coast. The main question is whether these artefacts were simply adornments, or they carried additional meaning. And, if the latter proves to be true, then what was that meaning – just general protection from evil, or also something else? Currently, the state of our knowledge does not allow for definitive answers, but provides some directions.

A diadem, a necklace with a Heracles knot, a lion's-head hoop earring, bow-shaped fibulae, a bud-shaped pendant and a finger ring with engraved decoration: these spectacular pieces were placed as grave gifts in tomb Γ at Sedes not far from Thessaloniki. The tomb is dated to the last quarter of the 4 th century BC, and the finds are in the Archaeological Museum of Thessaloniki. In her earlier research based on pieces of identical type (e.g. bull's-head hoop earrings), the author formulated the hypothesis that purely technical details can serve as attribution marks of goldsmiths. The close technical study of the Sedes jewellery shows that this hypothesis is also valid for jewellery of different types. Comparative technical analysis of pieces of a single type makes it possible to distinguish relatively easily between features of the type and those technical details characteristic of a hand or a place of production. In the case of jewellery of different types, identification of common features, which can be interpreted as marks of the same hand or workshop, is a more complex task. Several technical features and characteristic imperfections have been found on the Sedes jewellery which make it possible to ascribe almost all the pieces to a single artist. The author proposes the attribution of this gold jewellery to a single goldsmith, based on comparative technical analysis using a microscope, and suggests naming him/her Sedes Goldsmith after the finding place. It illustrates the feasibility

The entries for the catalogue concern findings from the cemetery of ancient Lete, one of the most important cities of the Macedonian kingdom. Lete is located about 12 kilometers NW of Thessaloniki. The city and its cemeteries sprawled over the hills of the Derveni pass and the western part of the fertile plain of Langadas. This strategic position on two main roads - leading from the Aegean into the central Balkans and linking the Thermaikos Gulf with eastern Macedonia - justifies the long, continuous habitation of the site, from the Early Neolithic period until the Roman era.
The majority of the published burial context here comes from the cemetery of the city. Regarding the jewellery, the archaeological evidence proves that the development of regional production was related to the desire for luxurious living-standards and for the production of grave offerings that reflect the symbolic fulfillment of the deceased’s needs in afterlife.
They were presented at the exhibition gold and silver findings from cist tombs of the Early Hellenistic Period, as gold lion's head hoop earrings, a golden olive wreath, a gold diadem wiht Heracles knot, a silver spoon, a silver coin of Alexander the Great, etc.

"As the archaeological evidence clearly shows, the massive arrival of the Greeks in Sicily and the widespread diffusion of their culture invested the indigenous world of Sikels and Sikans. The process took place certainly in different ways and times, met minor or major resistance and touched the heart of the Sikan world, as well. The indigenous sanctuary at Polizzello, which arise in the center of Sicily, near to the town of Mussomeli, between the second half of the seventh and the beginning of the fifth century BC, received, as offerings, an increasing amount of pottery of Greek types (Ionic and Corinthian), ornaments in semi-precious ma-terials (amber, ivory, bone and glass) and metal and, in more recent times, Attic and black painted pottery. The association of these artifacts, whose presence is clearly the result of intensive relationships between the Sikan center and the colo- nial world, well known in the main votive contexts of the Greek world, proves that some ideas travelled together with the goods and these gradually influenced the indigenous votive practices.
The provenance of the materials from stratified contexts and their analysis al- low us to read, both in a synchronic perspective or through their diachronic development, phases and effects of the Greek presence in Polizzello. Such evidence allow us, as well, to reconstruct, on the one hand, the stages of the journey that led in the center of Sicily objects produced in distant workshops with techniques unknown to the indigenous population and, on the other hand, the ideological and political way that from the mere acquisition of objects led to the reception of alien cultural elements and finally to the Hellenization of the center."

Taking its point of departure from several recent “holistic” approaches towards the investigation of ancient jewellery, this workshop reassess current developments in the field. This workshop treats ancient jewellery as artefacts that should be used as a source material in investigations of various aspects of ancient society. It will revise how ancient jewellery is utilized and classified from art historical, archaeological and technological perspectives.

The one-day workshop brings together scholars studying ancient jewellery and personal adornment with the goal of not only discussing current perspectives and new methodologies but also to create a platform of interdisciplinary exchange for the study of such material. The workshop is divided into three sections: scientific, methodological and social approaches to the study of ancient jewellery. The papers in these sections are from a variety of temporal and cultural areas of ancient adornment to bring out wider methodological approaches to the study of ancient jewellery that might be applied to other periods and cultural situations.

The importance of jewellery in the history of human culture extends to a wide range of approaches covering all aspects of human activity. Consequently, jewellery should not be considered only as a work of art, nor simply as yet another finding that will help in dating; it is actually a creative combination. Especially when the object of examination is the gold jewellery, so the study of the material itself in the metalworking context constitutes alone an area of action and even more when we talk about Northern Greece from the second half of the 4th century to the 2nd century BC, when the presence of this material is very intense. The information that gold jewelry can provide via safely dated sets, particularly close grave sets, not only on archaeological level but also on the interdisciplinary one, is of utmost importance as one can examine the very society in which they were created and used, the social
stratification, the role of women, the elite that was arisen, the economic situation that prevailed, the communication that had taken place in the Eastern Mediterranean, the artistic trends, as well as the religious, ritualistic and mystical practices that likely were used. Archaeology is after all the science that aims to restore historical reality, the one that actually reveals those tangible elements that constitute the historical reality on which a number of other sciences, using their perspectives according their own aims and targets, compose their own conclusions; so constructive cooperation and conciliation should be one-way.

The 12 entries for the catalogue concern grave goods from the well known archaic cemetery of Sindos, such as a gold necklace, earrings, pins, funerary masκ and pendants,  as well a terracotta figurine and vases of the 6th century BC,
The other 5 entries concern findings from the cemetery of ancient Veroia, one of the most important cities of the Macedonian kingdom, such as a gold diadem with embossed palmette, lion's head hoop gold earrings and terracotta figurines, like those depicting the goddess Aphrodite and a terracotta group with  Aphrodite and Adonis of the Hellenistic period.

Veroia, one of the most important cities of the Macedonian kingdom, is first mentioned by Thucydides in 432 BC. The city reached the peak of its glory and prosperity in the Hellenistic era, during the reign of the Antigonid dynasty, the ruling house of ancient Macedonia from 306 to 168 BC. At this time, the city became the seat of the Koinon of Macedonians.
The silver medallion was among the burial offerings in a grave, probably of woman's, of the mid-century BC. In the centre is depicted the bust of a young man with bull's horns sprouding from his temples. A spread eagle covers the top and rear of his skull. The flat area around the central figure  is decorated with a wave motif.
Τhe above characteristics lead to the identification of the depicted figure with a river god. River gods are depicted as horned youths on coins of Greek cities of the 5th century BC. The fact that the same subject is depicted on the relief medallion on the lid of a clay pyxis from Veroia suggests that it is an original creation of a local workshop.
A second gilded silver medallion with the representation of Aphrodite Epitragia was found in Veroia in another grave of the 2nd c.BC. (See. K. Tzanavari, Entries for the Catalogue of the Exhibition Eros Grec, no. 9).

The National Museum in Krakow preserves a part of an outstanding collection of engraved gems assembled by Constantine Schmidt-Ciążyński (1818-1889). Formerly it comprised 2517 specimens, among which 301 objects were set in various types of rings. Within this part, there are three very interesting Greek gold engraved finger rings. Dated on different periods, from 5th to the second half of the 2nd century BC, they are the examples of magnificent ancient craftsmanship. The first ring bears emblem of two dolphins, the second one, a woman by the incense-burner - thymiaterion and the last one portrait of a philosopher (or rather the sculptor Phidias?) with an inscription. The aim of the paper is to interpret the devices engraved upon them as well as discuss and ascertain dating, provenance and functions of the objects. Another purpose is to discuss connections with other works of ancient art and craftsmanship, especially engraved gems and coins.

Please join us on Thursday, May 24, 2018 to celebrate Boston women who have enhanced our experience of ancient Greek, Jewish, and Roman Art.
The event will take place on Boston's historic Beacon Hill at Grogan & Company Auctioneers, 20 Charles Street, Boston, MA

Local artist Janet Shapero will be our guest speaker and discuss sources of inspiration for her celebrated "Rete Chrome" series from ancient Jewish tombs and other monuments of the Greco- Roman era, which she explored in the company of International Catacomb Society founder and longtime Beacon Street resident, Estelle Brettman. She also will discuss how traditional artisan training in Italy has shaped her artistic vision and her unique approach to revitalizing our ancient heritage.

There will also be a screening of Boston-based film director Karen Audette's award-winning short documentary, "The Nike Chariot Earring" (2016), starring Florence Z. Wolsky (1923- 2018), whose incredible drive and remarkable sleuthing skills led to the recovery of the priceless Greek earring, which had been stolen from the Museum of Fine Arts, Boston in 1963.

In between the presentation and screening, several friends and family members will speak about Florence as a scholar, a mentor, a mother, and dear friend.

A social hour with refreshments will precede the program and allow people to meet and mingle with others from Florence’s many circles of friendship in Boston and beyond and especially at the Museum of Fine Arts and the International Catacomb Society.

We hope to see you at this special event honoring the remarkable work and vision of women with deep roots in the Boston community.

If you are unable to attend, but would like to contribute in Florence’s name to the scholarship program of the International Catacomb Society that she was instrumental in founding to support research on the Ancient Mediterranean, please use the attached donation form or make a charitable contribution online at www.catacombsociety.org/give. All donations are tax-deductible, and will be named in the event program.

RSVP no later than Friday, May 18, 2018 to:
internationalcatacombsociety@gmail.com

La conversion massive par Alexandre le Grand des trésors accumulés par les Achéménides en monnaies d’or et d’argent est un phénomène majeur de l’histoire monétaire mondiale. Par son ampleur, cette augmentation soudaine de la masse monnayée en circulation ne se compare avec aucun autre épisode antique ou médiéval. Ce n’est pas tant l’accroissement du nombre d’études de coins ou de trésors recensés qui nous autorise aujourd’hui à proposer une vision plus nourrie de ce grand dossier historique. Nos idées se sont à ce propos précisées, mais pas profondément modifiées. Sauf que, pour l’étude de la circulation par les trésors, on n’avait pas proposé jusqu’ici de vision globale tant géographique que chronologique, et que – ce faisant – il est permis de mettre en évidence un schéma très clair quant à la question de savoir dans quelle direction est parti l’or monnayé après 250 av. J.-C. Mais il est surtout possible d’agréger au dossier quatre types d’arguments, qui tous paraissent renforcer le même schéma directeur : 1) les analyses métallographiques, en particulier celles portant sur les éléments traces (platine et palladium), 2) une attention renforcée aux rapports entre monnaies et orfèvrerie (pour lesquels Yanis Touratsoglou avait déjà tracé la voie), 3) le traitement du dossier épigraphique, maigre mais fortement instructif, et – last but not least – 4) la prise en compte du prisme plus grossissant que déformant de la Nouvelle Comédie, Plaute en tête, dont – s’agissant des monnaies – les archétypes fonctionnent toujours dans le même sens. L’enquête permet de montrer que, pour l’essentiel, l’or monnayé d’Alexandre a emprunté des circuits courts, à la fois 1) temporellement puisqu’il disparaît pour l’essentiel en une grosse génération, 2) géographiquement puisqu’il semble avoir surtout concerné la Macédoine et les Balkans, et 3) socialement puisqu’il paraît confiner à des archétypes qui ne s’éloignent pas beaucoup de la sphère militaire. Dès lors, et au contraire de ce que les historiens ont généralement soutenu à la suite de Gustav Droysen, il ne semble pas que l’or monnayé d’Alexandre, essentiellement transformé en dépenses de prestige non productives, a beaucoup contribué à créer de la richesse durable par l’augmentation des capacités de production.

It is our pleasure to inform that the 22nd volume of Studies in Ancient Art and Civilization has been published!

You can read and download all the newest articles here: https://journals.akademicka.pl/saac/issue/view/56

Table of contents:

Several Remarks About the Near-Eastern Contribution to Early Archaic Greek Warfare, Jakub Witowski

Hinged Fibulae from Halae in the Collection of the National Archaeological Museum of Athens, Agata Kubala

In Search of a Paphian Lost Circular Building, Aleksandra Brzozowska-Jawornicka

Petra – Holy City from the Perspective of Art, Architecture, inscriptions and Other Features, Eyad Almasri, Firas Alawneh

Aegean Wine Imports to the City of Rome (1st century BC – 3rd century AD), Paulina Komar

From Democracy to Oligarchy – the Role of the Civic Elite Within the Community in Roman Delphi, Dominika Grzesik

Roman Gems in the National Soares dos Reis Museum in Oporto, Graça Cravinho

Some Remarks on the Ivy Leaf Lamp Found in Ptolemais, Maria Jaworska

"Commentatio tertia, nummaria" by Johann Peter Titius. A Contribution to the Knowledge of Ancient Greek and Roman Coins in the 17th-century Gdańsk Academic Gymnasium, Bartosz Awianowicz

Three-dimensional Stratigraphy Reconstruction and GIS – Postprocessing Issues in Archaeological field 3D Documentation, Wojciech Ostrowski, Łukasz Miszk, Weronika Winiarska

The article is devoted to the attribution of a golden finger ring with the image of a beardless nude youth with a diadem on his head and two wreaths – each in every hand, lowered down, on the bezel. The finger ring was found in 2018 in a room made of mud bricks (sanctuary
no. 835) under the stone foundation of a temple in Phanagoria. Both the shape of the ring and the style of the image on its bezel leave no doubt about the dating of the ring to the Late Archaic period, most likely around the turn of the 6th–5th centuries BC. The subject, presented on the ring’s bezel, is extremely rare and has practically no parallels in glyptics – in the items dated to the period under consideration, wreaths were most often depicted in the hands of Eros. Nevertheless, the parallels in the black-figure vase painting give reason to associate the image
of a naked, beardless young man in a diadem, with wreaths in lowered hands with motives of a pederastic circle or those associated with a symposium, rather than sports. in such an interpretation of a Greek piece of jewelry there is, in fact, nothing surprising, except that new facets of the life of the Greek population of the Late Archaic Phanagoria are revealed to us (in the event that the first version of interpretation is correct).

The 10 entries for the catalogue concern grave goods from burial contexts from the well known Hellenistic cemetery of Veroia. Veroia is one of the most important cities of the Macedonian kingdom, first mentioned by Thucydides in 432 BC. The city reached the peak of its glory and prosperity in the Hellenistic era, during the reign of the Antigonid dynasty, the ruling house of ancient Macedonia from 306 to 168 BC.
The entries concern terracotta protomes-busts of a female goddess of the end of the 4th century BC, a gold diadem with embossed palmette, a pair of lion's head hoop gold earrings, a pair of gold earrings with lynx head finials of carved cornelian, a gold necklace and ring, as well as terracotta figurines, like those depicting the goddess Aphrodite as Kourotrophos and a terracotta group with Aphrodite and Adonis of the Hellenistic period.

The article is devoted to the gold pectoral found in the destroyed burial no. 1/1984 in the Lower Volga region near the village of Kosika, dating from  the third quarter of the 1st century BC. Based on the visual examination of the pectoral in 2015, an attempt is made to recreate its history: to determine the time of its creation – no later than the first half of the fifth century BC; of its repair and alteration – in the late fifth/ the first third of fourth century BC; as well as to explain how this unique object of Scythian culture of the Northern Black Sea region, the insignia of the royal power and one of the most ancient examples of torment scenes that stood at the origins of the Greco-Scythian style in toreutics, found its way into a much later (at least 300 years after its alteration) burial of a representative of the highest Sarmatian elite.